The Emperor Protects… But Doesn’t Critique: How Space Marine 2 Misses the Mark on Warhammer 40,000‘s Satire
You’re an eight-foot-tall walking tank, bred for war and brainwashed since childhood to kill in the name of a corpse on a throne. You hack, shoot, and kill on the orders of an obscene hierarchy, one that sacrifices millions for the sake of a decrepit, dying society – the Imperium. This is the central theme, the beating heart of Warhammer 40,000, and in Saber Interactive’s latest game, Space Marine 2, you’re made to feel every inch the supersoldier you play as. But, despite its grim and gritty presentation, the game frustratingly avoids engaging with the satirical undercurrent that defines the setting.
While many enjoy the grand scale and epic battles of the Warhammer 40,000 universe, the setting’s biting satire is often missed or mishandled in media adaptations. It reminds one of Lindsay Ellis’ insightful video essays about the Transformers movies, particularly her analysis of the first film. She brilliantly re-frames the narrative, highlighting Mikaela Banes as the true protagonist, despite her agency being overshadowed by the constant focus on her physical attributes.
Ellis aptly concludes her essay with a quote that perfectly summarizes the issue with Space Marine 2 and its failure to capture Warhammer’s satirical depth:
"Framing and aesthetics supersede the rest of the text – always, always, always."
This quote perfectly encapsulates how Space Marine 2 prioritizes the "badass" aesthetics of being a Space Marine over exploring the philosophical and social critiques at the heart of Warhammer 40,000.
While the game itself is enjoyable, offering a satisfyingly brutal and action-packed experience, its lack of depth concerning the setting’s satire is a missed opportunity. This is particularly concerning considering the highly problematic and toxic portion of the Warhammer fanbase, who often interpret the Imperium’s brutality as righteous. Newcomers to the setting might play Space Marine 2 and walk away with a distorted understanding of Warhammer 40,000, mistaking the brutal status quo for a desired reality.
Space Marine 2 throws the player directly into the fray, with little time to contemplate the philosophical implications of the world. You’re tasked with launching a virus bomb, a weapon of mass destruction that annihilates all life on a planet. In Warhammer 40,000 canon, such bombs are terrifyingly devastating, as witnessed in novels like Galaxy in Flames and Tallarn. However, in Space Marine 2, the bomb’s detonation has no tangible impact on the planet, merely slowing down the Tyranids. This blatant glossing over of the consequences of the Imperium’s actions is a missed opportunity to showcase the horrifying reality of living in a universe ruled by such a brutal and paranoid regime.
The game’s narrative, while following the events of the first Space Marine, offers little in the way of commentary on the flaws of the Imperium. You play as Titus, a Space Marine who has been ostracized by his own chapter, the Ultramarines, under false accusations of heresy. Despite his history, his arc focuses solely on re-establishing trust with his brothers, leaving no space for introspection about the system that wronged him.
The game consistently showcases Titus as the archetypal Space Marine – a paragon of loyalty and unwavering obedience – without giving him the agency to question the Imperium’s brutality or his own place within its rigid hierarchy. The final battle even culminates with Chapter Master Marneus Calgar, leader of the Ultramarines, declaring that Titus’ strength against Chaos stems from his unwavering dedication to the Imperium, reinforcing the notion that obedience and unquestioning loyalty are the only acceptable traits for a Space Marine.
While Space Marine 2 provides a decent power fantasy for fans of the setting, it fails to capitalize on the rich and satirical thematic potential of Warhammer 40,000. The game focuses on the action and spectacle, ignoring the nuances of the setting’s social and political commentary.
In contrast, games like Dawn of War (particularly the first entry) and Warhammer 40,000: Rogue Trader have delved into the setting’s satire with more success.
Rogue Trader, while facing criticism for bugs and an unbalanced final act, manages to tackle the complexities of the Imperium and Space Marines with far more nuance than Space Marine 2. The game’s RPG system allows for three distinct playstyles:
- Imperial Sycophant: Embracing the Imperium’s brutal ideology.
- Chaos Worshiper: Adopting the chaotic and subversive path.
- Iconoclast: Rejecting the Emperor’s authority and carving your own dominion.
This diverse approach to morality and allegiance allows players to engage with the setting’s satire in a meaningful way. The introduction of Ulfar, a Space Wolf, further highlights the differences between the Imperium and its Space Marine chapters.
Owlcat’s writers cleverly portray Ulfar as a wholly alien character, both in his personality and his cultural understanding. His voice actor, Oliver Smith, delivers a powerful performance, conveying Ulfar’s distorted humanity and his deep connection to his chapter’s unique culture.
The player is presented with a choice – embrace Ulfar and his way of life, or condemn him as a heretic. This choice, coupled with the game’s diverse playstyles, allows players to actively engage with the setting’s satirical elements, contrasting the Imperium’s rigid dogma with the more nuanced approach of the Space Wolves.
Warhammer 40,000 thrives on its inherent silliness and absurdity. The setting, born from the 1980s anti-Thatcherism movement, is full of outrageous characters, concepts, and situations. The Ultramarines, for example, derive their name from their distinctive blue armor, a whimsical detail that underscores the absurdity of the universe.
Warhammer 40,000 is a setting that begs for a satirical edge. It should be as biting and fierce as the Tyranid Hive Tyrants or the ripping chainsword of a Space Marine. Instead, Space Marine 2 opts for a simplistic power fantasy, burying the satirical potential under layers of uncritical action and heroism.
This lack of critical engagement with the setting’s satirical core is a missed opportunity. Space Marine 2 could have served as a powerful commentary on the Imperium’s destructive nature and its reliance on blind faith and violence. Instead, it presents a sanitized version of the setting, failing to capture the subversive humor and biting critique that make Warhammer 40,000 such a captivating and complex universe.
